Crossmodal correspondences between odors and contingent features: odors, musical notes, and geometrical shapes

Olfactory experiences represent a domain that is particularly rich in crossmodal associations. Whereas associations between odors and tastes, or other properties of their typical sources such as color or temperature, can be straightforwardly explained by associative learning, other matchings are much harder to explain in these terms, yet surprisingly are shared across individuals: The majority of people, for instance, associate certain odors and auditory features, such as pitch (Belkin, Martin, Kemp, & Gilbert, Psychological Science 8:340–342, 1997; Crisinel & Spence, Chemical Senses 37:151–158, 2012b) or geometrical shapes (Hanson-Vaux, Crisinel, & Spence, Chemical Senses 38:161–166, 2013; Seo, Arshamian, et al., Neuroscience Letters 478:175–178, 2010). If certain odors might indeed have been encountered while listening to certain pieces of music or seeing certain geometrical shapes, these encounters are very unlikely to have been statistically more relevant than others; for this reason, associative learning from regular exposure is ruled out, and thus alternative explanations in terms of metaphorical mappings are usually defended. Here we argue that these associations are not primarily conceptual or linguistic, but are grounded in structural perceptual or neurological determinants. These cases of crossmodal correspondences established between contingent environmental features can be explained as amodal, indirect, and transitive mappings across modalities. Surprising associations between odors and contingent sensory features can be investigated as genuine cases of crossmodal correspondences, akin to other widespread cases of functional correspondences that hold, for instance, between auditory and visual features, and can help reveal the structural determinants weighing on the acquisition of these crossmodal associations.     

Crossmodal associations between flavoured milk solutions and musical notes

A number of crossmodal associations have now been described in the context of food evaluation, such as between tastes or flavours and musical notes (Crisinel & Spence, 2010b). Here we extend these findings by presenting flavoured milk solutions of varying fat contents. The participants in the present study matched a series of milk samples to musical notes. They chose both the pitch and the class of instrument that they felt was most appropriate for each sample. Participants also rated various features of the samples, such as their pleasantness, bitterness, or familiarity. Consistent associations between flavours and both pitch and instruments were confirmed. However, fat content did not influence either the pitch or instrument chosen, although it did have an effect on pleasantness and intensity ratings. These results demonstrate that flavour–sound associations are not restricted to basic tastes and flavours presented individually, but are still present in the context of more complex food stimuli. The present study opens the way for further investigations into the nature and characteristics of crossmodal associations (or correspondences) between more complex stimuli, both in the auditory and gustatory/olfactory modalities. This novel approach could lead to new insights into the representation of chemosensory stimuli in humans.     

Cross-modal interaction between vision and touch: the role of synesthetic correspondence

At each moment, we experience a melange of information arriving at several senses, and often we focus on inputs from one modality and 'reject' inputs from another. Does input from a rejected sensory modality modulate one's ability to make decisions about information from a selected one? When the modalities are vision and hearing, the answer is "yes", suggesting that vision and hearing interact. In the present study, we asked whether similar interactions characterize vision and touch. As with vision and hearing, results obtained in a selective attention task show cross-modal interactions between vision and touch that depend on the synesthetic relationship between the stimulus combinations. These results imply that similar mechanisms may govern cross-modal interactions across sensory modalities.     

Hemispheric asymmetries in the perception of musical intervals as a function of musical experience and family handedness background

This study examines the effect of musical experience and family handedness background on the categorization of musical intervals (two-note chords). Right-handed subjects, who were divided into four groups on the basis of musical training and presence (or absence) of left-handed family members, categorized musical intervals which were monaurally presented to left or right ear. The results, based on consistency and discreteness of categorization, showed: (1) Musicians' performance is superior to nonmusicians'; (2) musicians and nonmusicians differ significantly on their ear of preference; (3) family handedness background significantly affects ear of preference among musicians but not among nonmusicians.     

Liking and memory for musical stimuli as a function of exposure

Three experiments examined changes in liking and memory for music as a function of number of previous exposures, the ecological validity of the music, and whether the exposure phase required focused or incidental listening. After incidental listening, liking ratings were higher for music heard more often in the exposure phase and this association was stronger as ecological validity increased. After focused listening, liking ratings followed an inverted U-shaped function of exposure for the most ecologically valid stimuli (initial increases followed by decreases), but this curvilinear function was attenuated or nonexistent for less valid stimuli. In general, recognition improved as a function of previous exposure for focused listeners, but the effect was attenuated or absent for incidental listeners.     

Consistency in synesthetic experience to vowels and consonants: Five case studies

The present study attempted to specify the actual degree of consistency in synesthetic experience in two synesthetes and three non-synesthetes. By comparing colour chip selections, and size and density ratings, to the same set of stimulus letters on separate occasions, it was found that the synesthetic subjects showed a high consistency in responding over a short (24 hours) as well as a long (one year) time span. In comparison, the non-synesthetic subjects demonstrated less consistent responding when retested after 24 hours. However, the differences between the two groups were smaller than expected. Consistency to vowels and consonants was compared, and it was found that consistency to consonants was comparable to, or even higher than, vowel consistency in all subjects.     

Transference neurosis as a waking dream: notes on a clinical enigma

This paper demonstrates clinically that the interactional features of a transference neurosis are the waking equivalents of a manifest dream. Through analytic investigation of the emerging repetitive extraverbal elements of apparent transference resistance behavior, it is discovered that the systematic analysis of the details of such behavior yields a picture of synthetic construction fundamentally the same as that seen in dreams. By using Freud's technique of systematic dream interpretation, the tightly organized, coded, and camouflaged presence of many key compromise formations determining a neurosis are found to be represented in compact, highly condensed clinical interactions, providing an overall picture of dreamwork in action. The four components of dreamwork are found to be the principal means by which the unconscious genetic and dynamic material is represented in the analytic field.     

Learning sound/symbol correspondences: Transfer effects of pattern detection and phonics instruction

This study tested predictions derived from Gibson and Levin (1975) and Gough and Hillinger (1980) regarding the effects of different forms of reading instruction on a test of ‘far generalization’, where students were asked read nonsense words containing untaught sound/symbol correspondences. Two instructional methods were compared, pattern detection training and a synthetic phonics lesson which taught the specific correspondences used on a first post-test. A control group received no treatment. The transfer effects of pattern detection training were demonstrated on a first post-test and with a measure of correspondence induction at the end of testing. A first and second post-test revealed that specific correspondence training increased decoding scores but did not transfer to novel correspondences. On a second post-test, pattern detection and specific correspondence groups did not differ in decoding score; apparently the induction skill of the pattern detection group was balanced by the knowledge base of the specific correspondence group. It is concluded that pattern detection training more readily fosters those abilities that allow students to independently induce sound/symbol correspondences than the traditional approach of direct teaching of specific correspondences.     

Chimpanzees (Pan troglodytes) recognize spatial and object correspondences between a scale model and its referent

In the present study, the contributions of spatial and object features to chimpanzees' comprehension of scale models were examined. Seven chimpanzees that previously demonstrated the ability to use a scale model as an information source for the location of a hidden item were tested under conditions manipulating the feature correspondence and spatial-relational correspondence between objects in the model and an outdoor enclosure. In Experiment 1, subjects solved the task under two conditions in which one object cue (color or shape) was unavailable, but positional cues remained. Additionally, performance was above chance under a third condition in which both types of object cues, but not position cues, were available. In Experiment 2, 2 subjects solved the task under a condition in which shape and color object cues were simultaneously unavailable. The results suggest that, much like young children, chimpanzees are sensitive to both object and spatial-relational correspondences between a model and its referent.     

Performance of musical rhythm in 3/4 and 6/8 meter

Monophonic performances of 15 melodies in 3/4 or 6/8 meter were analyzed according to previously described methods (Bengtsson & Gabrielsson, 1980) to test the hypothesis that live performance of musical rhythm is characterized by various systematic variations (SYVAR) as regards the duration of the sound events in relation to strict mechanical regularity. The results show many different types of SYVAR, varying with music and/or performers but with certain recurring features. at the sound event level as well as at the beat, half-measure and measure levels. It is pointed out that these results should be supplemented by data in other performance variables, and that there probably are certain basic relationships between SYVAR and different aspects of the rhythm response to be further investigated.     

Dichotic recognition of musical canons: Effects of leading ear and time lag between ears

A musical canon consists of two melodic lines with the second part copying the first exactly after some time delay. Right-handed adults listened to canons presented dichotically at time delays between the ears of 2, 4, and 8 sec. Presentation rate varied from 1.0 to 4.4 notes/sec in one part. Different groups of subjects heard the canons with the left or the right ear leading. The subject’s task was to tell whether a given stimulus was a canon or not. Control stimuli were noncanons by the same composer. Musically experienced subjects performed better at the task than inexperienced subjects. Short time lags were easier than long, and the effect of lag was more pronounced with the right ear leading. In the light of previous evidence of functional ear asymmetry in music perception, these results suggest that whenever possible subjects use a strategy of selecting out small chunks of the lead-ear melody for short-term memory storage and later comparison with the trailing melody. The auditory system processing information from the right ear is especially good at focusing on small chunks. But this strategy is particularly vulnerable to time lag; hence the interaction of lead ear and time lag.     

Change detection in multi-voice music: the role of musical structure, musical training, and task demands

This study evaluated the relationship between primitive and scheme-driven grouping (A. S. Bregman, 1990) by comparing the ability of different listeners to detect single note changes in 3-voice musical compositions. Primitive grouping was manipulated by the use of 2 distinctly different compositional styles (homophony and polyphony). The effects of scheme-driven processes were tested by comparing performance of 2 groups of listeners (musicians and nonmusicians) and by varying task demands (integrative and selective listening). Following previous studies, which had tested only musically trained participants, several variables were manipulated within each compositional style. The results indicated that, although musicians demonstrated a higher sensitivity to changes than did nonmusicians, the 2 groups exhibited similar patterns of sensitivity under a variety of conditions.     

清晰度对自信预测效应的影响

清晰度是自我概念的一个重要特点。本研究采用自信心清晰度问卷、总体自信问卷、GHQ-20为工具,对自信水平、自信清晰度在自信对心理健康的预测效应中所起的作用进行了探讨。研究发现,自信水平、自信清晰度对心理健康均具有显著的预测作用;考虑清晰度后,自信水平对GHQ-焦虑、抑郁、自我肯定的回归效应被清晰度部分解;表明清晰度是自信预测效应的调节因素。     

Know thy sound: Perceiving self and others in musical contexts

This review article provides a summary of the findings from empirical studies that investigated recognition of an action's agent by using music and/or other auditory information. Embodied cognition accounts ground higher cognitive functions in lower level sensorimotor functioning. Action simulation, the recruitment of an observer's motor system and its neural substrates when observing actions, has been proposed to be particularly potent for actions that are self-produced. This review examines evidence for such claims from the music domain. It covers studies in which trained or untrained individuals generated and/or perceived (musical) sounds, and were subsequently asked to identify who was the author of the sounds (e.g., the self or another individual) in immediate (online) or delayed (offline) research designs. The review is structured according to the complexity of auditory–motor information available and includes sections on: 1) simple auditory information (e.g., clapping, piano, drum sounds), 2) complex instrumental sound sequences (e.g., piano/organ performances), and 3) musical information embedded within audiovisual performance contexts, when action sequences are both viewed as movements and/or listened to in synchrony with sounds (e.g., conductors' gestures, dance). This work has proven to be informative in unraveling the links between perceptual–motor processes, supporting embodied accounts of human cognition that address action observation. The reported findings are examined in relation to cues that contribute to agency judgments, and their implications for research concerning action understanding and applied musical practice.     

Motor intentionality and the intentionality of improvisation: a contribution to a phenomenology of musical improvisation

Continental Philosophy Review - The intentionality of improvisation represents surely one of the most pressing and controversial issues in contemporary action theory: how do we find the way to...     

Soul,freedom and salvation: a literary,cinematic and musical journey to the crossroads

It is tempting to assume that the construction of rational arguments for the existence of God reflects the basic logical form of theological discourse and debate. However, it would also seem that most if not all major religions are grounded mainly in stories (including biographies) of divine or divinely inspired saviours or prophets, and that the form of much ordinary religious understanding is ‘narratival’. In addition, such latter‐day moral and social theorists as Alasdair MacIntyre have held that human moral and spiritual understanding cannot but take a narrative form, and regarded religious stories as contributing crucially to such appreciation. However, while it is tempting to support such claims by reference to classics of literary and artistic culture, it is arguable that much contemporary cinematic and other popular art has also developed the major moral and spiritual themes of classical culture in significantly insightful ways. This article explores the movie Crossroads as a particularly fertile instance of such development.     

Altruism between romantic partners: Biological offspring as a genetic bridge between altruist and recipient

When the cost of altruism is low, individuals are more likely to help non-kin (i.e., friends and romantic partners) than kin. This trend is thought to reflect the fact that people tend to be emotionally closer with friends and romantic partners than kin. However, as the cost of altruism increases, altruistic preference shifts to kin. The present study highlights this phenomenon by examining altruism between siblings, romantic partners, romantic partners who have biological children together, and romantic partners who have adopted children together. Participants (n = 203) completed a questionnaire about altruism in low-, medium-, and high-cost situations. Participants gave more low-cost help to their romantic partners (regardless of whether they had a child together) than their siblings. More medium-cost help was given to romantic partners who had a child (biological and adopted) than siblings and romantic partners without children. In the high-cost condition, the estimated altruistic tendencies were stronger toward siblings and romantic partners who have a biological child than toward romantic partners with no children and partners with adopted children. Participants also believed they were more altruistic than their siblings and romantic partners.